Passing along what they know is central to contemporary craftspeople in the South.

Integral to the “passing on” is the creation of chosen communities local to international networks that are personal and professional, formal and informal. Well-organized into media associations, the field of craft enables artists to share expertise and friendship. The Artist Blacksmiths Association of North America ,National Council of Educators in the Ceramic Arts, Glass Art Society, Furniture Society, and Surface Design Association are but a few. Affiliations occur among workshop classes or university programs at such Southern centers of activity as the Universities of Alabama, Georgia and Florida,

Tulane University, Penland School of Crafts and the John C. Campbell Folk School. Dialogue among like-minded colleagues, cross-generational and cross-discipline mentoring, creative stimulation and support are central to life in communities of choice.

A crooked-back chair, a hand-pieced quilt, a hand-thrown pot; these masterworks are the embodiment of a living cultural heritage. It is the practicing artist who brings this legacy to life and makes their story meaningful to present and future generations.

Often recognized as the ones who are “doing it right,” traditional artists are respected by fellow community members. Through their craft, they put in motion a sometimes unspoken conversation about the maker’s creativity and the community’s sense of what is useful, beautiful and true. As dedicated teachers, family and community historians, cultural advocates, business folks and grandparents, these artists connect to their cultural and geographic communities in multiple ways. Such relationships are often at the center of their work.

Through their creative efforts and their commitment to pass on their skills, and as a result of the critical mass created by artists gathering in communities, these artists strengthen the places where they work and live.